Violinist, composer, arranger, and educator Sam Bardfeld, a native of New York City, is comfortable in many different settings. He can play "free jazz", country music, folk, blues, swing jazz, Latin, and more. He's worked with The Jazz Passengers, with Anthony Braxton's Trillium Orchestra, Vince Giordano's Nighthawks, Steven Bernstein's Millennium Orchestra, and Bruce Springsteen (and so many more). His first album as a leader, "Taxidermy", came out in 1999 on CIMP Records; since then, his albums have appeared on Fresh Sounds New Talent (2004) and BJU Records (2017).
Now, BJU has issued "Refuge". The album finds the leader in a musical conversation with pianist Jacob Sacks and drummer Michael Sarin (who's now appeared on three of his four releases). The seven-song program features five originals plus one each from Andrew Hill (the title track) and Mr. Springsteen ("Atlantic City"). The music is, at turns, playful, swinging, jazzy, noisy, rhythmic, lyrical and, believe me, never overstays its welcome. Whether it's the funky dancing drums underneath the violin solo on "On the Seat of Which" or Sacks' Monk-like piano on the opening "It Might Not Work" or the bluesy cake-walk strut of "Kick Me", this trio keeps the listener tapping toes, snapping fingers, and being by surprised by what's next. The trio shines on "Atlantic City" (listen below) giving it the sonic of a Tom Waits ballad––yet one can not miss the heartbreak and emotion in the violin lines. The wistful piano lines and the soft brush work (although note the depth of the bass drum) beneath the soaring violin solo helps to soften the tension.
The album closes with a rousing version of the classic Andrew Hill tune (from his brilliant 1964 Blue Note Lp "Point of Departure"––the trio version here is slower and one hear the influence of Julius Hemphill's "The Hard Blues" on the arrangement. Sack's far-ranging solo stands out as does Sarin's hard-edged drum work. Near the end of the piece, Bardfeld quotes from a classic Paul Simon tune right after he imitates a police car siren. It's delightfully off-putting, funny, and poignant at the same time.
"Refuge" is an album to get lost in with songs that speak to the listener in many different ways. The musicianship of Sam Bardfeld, Jacob Sacks, and Michael Sarin is quite impressive plus the emotion they pour into these songs makes the program stand out. While the violinist is a very busy sideman, one hopes to see this Sam Bardfeld Trio bring this program into a concert space!
Drummer and composer Sanah Kadoura, born in the country of Lebanon and raised in Canada, has impressed many fellow musicians and listeners over the course of her young career. Since moving to New York City in the mid-2010s, she's played with pianist Kirk Lightsey, guitarist Ed Cherry, vibraphonist Joe Locke, trumpeter/pianist Nicholas Payton, the late Roy Hargrove, trumpeter Jeremy Pelt, and so many others. She's a member of the Canadian-based collective Ostara Project, whose 2022 debut album stood out for its creativity and musicianship, and self-released her first solo album "Hawk Eyes" in 2018 which featured, among others, guitarist Mark Whitfield and bassist James Genus. Ms. Kadoura writes her own music, produces her sessions, and is poised to become an important musical voice over the coming decades.
"Duality" (self-released) is Ms. Kadoura's new album and it's a winner from the opening note. Her running mates include Stacy Dillard (soprano saxophone), Virginia MacDonald (clarinet), Rachel Therrien (flugelhorn, trumpet), Michael King (acoustic piano, Rhodes, organ), Jonathan Michel (acoustic and electric basses), and vocalist Joanna Majoko plus Parham Haghighi (vocals on three tracks) and Flavio Silva (electric guitar on one cut). One of the more fascinating is how often Ms. Kadoura uses two or more "voices" to express the song's thematic material––take "The Seer, The Soarer" (listen below) and how the soprano sax, clarinet, and flugelhorn state the theme and how the solos build off Michel's funky electric bass. On the title track, notice how the different instruments move around each after Dillard states the theme. Haghighi's vocal adds a Middle-Eastern touch before the soprano sax and clarinet solo together in conversation. Then, Ms. Majoko joins Haghighi for a repetition of the theme. These textures are in contrast to each but not in conflict. The arranger is looking for textural diversity in her music.
Photo: Tieran Green
Later in the program, "Zaytoon" mines Ms. Kadoura's country of origin for a playful, dancing, intriguing, tune. The rhythm section dances below the different soloists with Dillard's soprano sax and Ms. Therrien's flugelhorn building their solos off the traditional-sounding melody. The piece closes with Haghighi chanting the melody as Ms. Majoko and the soprano "scat" behind him.
The album closes with "Rise", a contemporary r'n'b piece featuring Ms. Majoko's melismatic vocal (check out her vocal chorus overdubs) over a rock-solid drum and Michel's burbling bass lines plus the colors of the Rhodes. Again, Stacy Dillard's soprano saxophone serves as a delightful counterpoint to the vocal. at about 3/4s of the way through the tune, the band breaks into a section that sounds more like progressive rock; this features voices coming at the listener from all sides over the throbbing. It makes for a surprising ending to a consistently creative adventure.
"Duality" is filled with good, solid, well-played music, planned out enough to make each song stand on its own yet open enough to allow for impressive solo work by a top-notch ensemble. One has to believe that Sanah Kadoura knows what she wants, what she can do, and, sooner than later, that the sky may be her only limit! Give a listen, a close listen!
Bassist, composer, and arranger Anne Mette Iversen now lives with her family in Berlin, Germany. She moved there in 2012 after 15 years in New York City where she studied at the New School, formed several groups, and helped to create the Brooklyn Jazz Underground collective and record label. Ms. Iversen continues to lead her eponymous Quartet +1 plus the Berlin-based Ternion Quartet. She also still has connection to classical music as well as writing soundtracks.
"Invisible Nimbus" (BJU Records) is the second album from the Ternion Quartet. Featuring the nimble alto saxophone of Silke Eberhard and buoyant trombone of Geoffroy De Masure as well as the rhythm section of drummer Roland Schneider and Ms. Iversen, the album was recorded in Lubrza, Poland, a small village two hours to the east of Berlin. The music covers a lot of territory, from the joyous bounce of "Within a Diapason" (French for "bursts of sounds" or "tuning fork") to the insistent drive of "Dig Your Heels In" to the intense ballad "The Rose Window". In her brief but cogent liner notes, Ms. Iversen writes "Music only lives when a dialog is present" - every song on the album is a conversation between the band members. Yes, there are solos throughout but, initially, the listener can't help but hear these four musicians really listen to each other plus the material the bassist provides for them plays to their strengths.
Photo: Dieter Düvelmeyer
There are moments when the music takes delightful detours. "Ionian Steps" ride out on a brisk bass line and Schneider's conversational drums. Ms. Eberhard's alto lines flutter and dart around, leading the rhythms section into a "free" section then into a slow blues chorus. De Masure picks up the slow vibe moving into a rubato before the band reenters to take the song out on its opening theme. The title track, expanded to"The Invincible Nimbus of Mystery", opens as a ballad with the bowed bass, alto sax, and trombone playing a classically-inspired melody before subtly slipping into a blues. One can hear traces of Charles Mingus on this track. The solos are quite exploratory yet the piece is most appealing when Ms. Eberhard and De Masure spar and parry.
Photo: Dieter Düvelmeyer
There are so many albums released every month in all genres. Every serious listener has his or her favorites. The critic/writer Whitney Balliett write that jazz is "the sound of surprise." Over a century after the music rose out of the bars and brothels of New Orleans, for those of us who are avid listeners, jazz is often "the sound of delight." You can hear delight throughout "Invincible Nimbus", from the intelligently-formed compositions to the often-witty interplay, in the cleanly-recorded sounds of the Ternion Quartet and the adventurous manner in which each musician adds her or his voice to the ensemble.
For more information, go to www.annemetteiverson.com. (The album will be released on May 10, 2019).
In the video introduction to the album, one sees starlings in flight it's called a murmuration. Linking the sight of the birds changing direction to the music of the band serves as an excellent introduction to and description of the music of Anne Mette Iversen's Ternion Quartet:
Producer, bassist, and composer Billy Mohler is best known for his collaborations with drummer Jimmy Chamberlain (from Smashing Pumpkins) and Macy Gray plus studio work with Kelly Clarkson, Pom Poms, and the music he created with and for skateboarding legend Tony Hawk. Mohler studied at the Berklee College of Music in Boston, MA, and was accepted into the Thelonious Monk Institute of Jazz. There, he studied and performed alongside Wayne Shorter, Herbie Hancock, Terri Lynn Carrington, Brian Blade, Joshua Redman, and Barry Harris (and a slew of other great musicians.
"Focus!" (MAKE Records) is Mohler's debut as a leader and features an excellent lineup; Shane Endlsley (trumpet), Chris Speed (tenor sax, clarinet), and Nate Woods (drums) keep their focus on creating lively, interactive, music that jumps out of the speakers. Mohler and Woods are combustible on first two tracks, "Deconstruction" and "Distant Star". They both play the rhythms hard and fast, creating a foundation that both Endsley and Speed dance over. The trumpeter's crisp tone (with echo and delay) and attack blends smartly with the warmer yet no less exciting playing of Speed. Listen to how the bass and drums introduce "Prairie Flower", setting up the melody with explosive drums and an entrancing bass line. Speed, on clarinet here, plays bird-like riffs while Endsley weaves in his own powerful lines. In the meantime, Woods powerful drumming really moves the music forward.
Mohler also wrote several handsome ballads for the album. "Wolf Moon" has such a handsome melody with hints of The Band's Robbie Robertson's style in the harmonies and chords. "Even Tide" opens with a fine bass solo that leads the listener into a melody line that moves up and cascades down, not unlike a ballad Ornette Coleman might write. The piece built slowly yet never boils over, the plaintive melodies creating a calm. The album comes to a close with one more ballad. Titled "Coin", the melody line hearkens back to "The Snake Charmer's Song" but resolves like a traditional Klezmer tune. Moving slowly over a droning bowed bass and quiet yet active drumming, neither Speed's breathy tenor sax nor Endsley's muted trumpet pushes the pace. Both "lead" voices play soulful phrases on to the end of this meditative piece (note the whirling dervish loop that comes as the final notes fade).
"Focus" is powerful, interactive, intelligent, and disruptive. Some of the music seems on the brink of going over the edge (thanks to Nate Woods incredible drumming) but the bass work of leader Billy Mohler keeps the focus of the music on the melodies and the rhythms. Find the album, play it loud - very loud - and enjoy the joy of creative music!
For more information, go to www.billymohler.com.
Here's a track to whet your appetite:
Photo: Steve Sussman
Even if you do not recognize the name Jay Anderson, chances are good you've heard his melodious playing. The bassist has appeared on a slew of albums, working and recording with the Maria Schneider Orchestra, pianists Frank Kimbrough, the late Paul Bley, and George Cables as well as a host of artists through his long association with SteepleChase Records: one can hear him on disks by pianist Stanley Cowell, Peter Zak, Freddie Redd, and Burak Bedyikan as well as saxophonists Rich Perry (his friend from the MSO), Andrew Rathbun, and Ronnie Cuber (over 100 sessions in 20 years!). I saw him in concert a dozen years ago with pianist Lynn Arriale and his smooth style, full tone, and counterpoint was quite arresting and a perfect for the leader.
"Deepscape" (SteepleChase) is his third album as a leader but the first since 1994's "Local Color" (DMP). The 11-song program is a blend of solo and ensemble tracks, standards, pieces by jazz artists such as Keith Jarrett, Branford Marsalis, and Jim Pepper. There's a duo with Kimbrough (on harmonium) on "Tennessee Waltz" that is charming and beguiling. The bassist also plays several solo pieces including a lovely reading of Billy Joel's "And So It Goes." Anderson caresses the melody and then creates a solo plays off various lines of the song without losing sight of the heart in the song. The title track, which opens the album, is a short yet lovely solo piece. Listen closely as you will hear the layers of sounds all created in overdubs by Anderson - it's as effective as it is beautiful
Anderson teams up with Matt Wilson (drums on eight cuts), Kirk Knuffke (cornet on six tunes), and Billy Drewes (alto and soprano saxes, bass clarinet, on seven tracks) for a series of pieces that alternately shake the house or take on a meditative tone. Jim Pepper's "Witchi-Tai-To" is a spotlight for Drewes' delightful soprano sax - the tracks also features Kimbrough's harmonium and percussion from Wilson and Rogerio Boccato. That same quintet of musicians create an audio painting of Morton Feldman's "Rothko Chapel (5th Movement)" with a delightful blend of soprano sax and harmonium move the meditative melody along. Pay attention to the playing of both Wilson and Boccato. Wilson creates a delight dance rhythm to lead in the classic "Sweet and Lovely" - there's a sweet touch of "second line" in both the rhythm and Anderson's sweet take on the melody. Knuffke's cornet takes over the melody and the band drops into a blend of swing and funk. The quartet of Wilson, Anderson, Knuffke, and Drewes (alto sax) take a joyful romp through Branford Marsalis's "The Mighty Sword" (from his 2012 "4 MFs Playin' Tunes" album). This is music that brings a smile as the ground navigates the tricky rhythms and tempos the bring to mind both Ornette Coleman and Keith Jarrett. Note how Anderson and Wilson lock in to the "groove" yet sound so free and swinging throughout the piece. The same configuration digs into Anderson's "Momentum", a fascinating ballad. The handsome, emotionally rich, melody is supported by harmonies from the bass and Wilson's melodic drumming and strong cymbal work. Both Drewes soprano solo and Knuffke's cornet are rich with ideas and finely-sketched lines.
"Deepscape" is a treat from start-to-finish. Jay Anderson shines as a leader, arranger, soloist, and member of the rhythm section. All the musicians on the album are long-time friends and collaborators, the album was recorded in the bassist's home studio, and the results are exciting, musical, and comforting.
Percussionist and educator Rogério Boccato, a native of Brazil, has worked on many fine recordings including Maria Schneider's "The Thompson Fields", Billy Child's "Rebirth", and Alan Ferber's "Jigsaw", to name but three. It's easy to understand his popularity in rhythm sections: his style is often understated, spare, creating colors with his hand percussion, his delightful way with brushes, and how he can play so powerfully without overwhelming the rest of the musicians. Currently, Boccato is on the faculty of the Manhattan School of Music as well as the Hartt School of Music/The University of Hartford. He also performs with pianist Fred Hersch (Pocket Orchestra), saxophonist Jimmy Greene, and with the Maria Schneider Orchestra.
His debut album as a leader is "No Old Rain" (Red Piano Music) and it features the Rogério Boccato Quarteto with Dan Blake (tenor and soprano saxophones), Jay Anderson (bass), and Nando Michelin (Fender Rhodes). The two-day session (June 1-2, 2016), recorded in bassist Anderson's home studio, is a 10-song program featuring music composed by Milton Nascimento, Egberto Gismonti, Toninho Horta, and Edu Lobo. The use of Fender Rhodes may remind some listeners of Chick Corea's work with the acoustic version of Return to Forever (the group that first recorded for ECM) and Herbie Hancock's work on Wayne Shorter's interpretations of Nascimento's music on "Native Dancer" (1974).
Blake's soprano playing is quite impressive (and, happily, not just a clone of Shorter's iconic playing) - when he and Anderson make their way through Lobo's "Canto Triste", they do so with warmth and emotional tenderness. If you have never paid attention to Anderson's bass work, he is one of the modern masters of ensemble playing, with a rich tone and an intuitive ear for counterpoint. In the opening minutes of Horta's "Bicycle Ride", he and Blake, on tenor, introduce the melody, work through it playing melodic phrases with and apart from each other, before the Rhodes and drums enter. The addition of Michelin and Boccato changes the tone of the piece, moving the music away from the melody into more rhythmic areas.
The program is also intelligently programmed. The first three tracks - Nascimento's "Cais" and "Clube da Esquina no. 2" plus Gismonti's "Tango" - flow easily into each other. The next three tracks do the same - the afore-mentioned "Bicycle Ride", Gismonto's "Bianca" and Nascimento's "Cravo e Canela" - and it gives the listener the feeling of being a spectator, watching the four musicians feed off each other and the material, making logical musical decisions as well as surprising connections. Later on the album, the Quarteto pairs Horta's "Pedro da Lua" and "Viver de Amor." On the latter track, Michelin creates a delightful solo as he rides the waves created by Boccato and Anderson, interacting with them as well as raising the intensity leading into Blake's powerful tenor solo.
"No Old Rain" is a delightful exploration of Brazilian music that not only shows the influence the four featured composers had on percussionist Rogério Boccato but how he was influences by the North American musicians who explored the music of his native Brazil. It's so easy to listen to this recording from beginning to end, 56 minutes of pure joy in playing music that speaks to the heart, the soul, and the feet.
Here's a live version of the opening track (note Michelin on acoustic piano):
Bassist and composer Noam Wiesenberg, a native of Tel Aviv, Israel, first studied cello before switching to acoustic bass (at the age of 20). In his native country, he played with the Jerusalem Symphony Orchestra, the Haifa Symphony Orchestra, and the Israeli Defense Force Education Unit Orchestra. He studied composition and arranging at the Jerusalem Academy of Music and Dance as well as jazz performance at the Rimon School of Jazz and Contemporary Music in Ramat HaSharon, Israel. Wiesenberg then moved to the United States to study at Berklee College in Boston. After graduation, the bassist moved to New York City where he has worked with saxophonist Dave Liebman, drummers Antonio Sanchez and Billy Hart, guitarists Lage Lund and Jonathan Kreisberg, pianist Aaron Goldberg, and vocalist Camilla Meza. He also arranged music for vocalist Lalah Hathaway that she performed with the Metropole Orkest (conducted by Vince Mendoza) as well as serving as arranger/music director of drummer Ari Hoenig's Nonet.
All those experiences has led Noam Wiesenberg to his debut recording as a leader. "Roads Diverge" (BJU Records) finds the bassist in the company of Philip Dizack (trumpet), Immanuel Wilkins (alto saxophone, clarinet), Shai Maestro (piano, Fender Rhodes), and Kush Abadey (drums) with tenor saxophonist Dayna Stephens on the title track. Abadey is one of those drummers, like Rudy Royston and Eric Harland, who not only makes the music seem brighter but also creates colors with his fine cymbal work. Listen how he pushes the band forward on the title track. He and Wiesenberg lock in the groove but also move in and out, prodding the soloists to move in different directions. The drummer's work is so subtle throughout the first 2/3rds of "Shir Le'Shir" but notice how he, Maestro, and the bassist push below saxophonist Wilkins during his excellent solo.
Photo: BJU Records
The joy of this record comes from the excellent compositions, songs that have smartly constructed melodies and intelligent arrangements plus solos that are usually built off those melodies. Philip Dizack's trumpet tone is bright and clear, his notes well-articulated while solos are often exciting. He and Wilkins trade zones on "Resfeber", winding in and around each other as the rhythm section pours on the fire. Listen also tho the fine piano work of Maestro whose playing is a delight all the way through the program. Dizack shines on the ballad "Melody For Ido", his combination of phrases, some rising high in the trumpet's range, bringing a sense of controlled fire. When that is meshed with Wilkins's warm alto tones, the results are impressive.
As for the bassist, he rarely solos, preferring to build the foundations of the majority of the nine tracks. The two exceptions are the opening "Prelude", in which Wiesenberg plays the melody over the piano and keyboard effects of Maestro, and the album's final track, Radiohead's "The Tourist." Wiesenberg overdubs himself on pizzicato and arco bass, not only playing the melody but also harmony and counterpoint on arco placed across the sound spectrum. He also plays a short pizzicato solo. Technically, it's brilliant without being flashy or showy.
"Roads Diverge" is an impressive debut album. All of Noam Wiesenberg's talents are on display, illustrating an artist with great promise and a fine ear for melodies and harmonies. The quintet he writes for gives him a very large palette of sounds and the bandleader takes full advantage. Give Noam Wiesenberg and his music a close listen.
In this year of the Thelonious Monk Centennial, there is no more fascinating tribute than "Solo: Reflections and Meditations on Monk" (Tum Records) from trumpeter Wadada Leo Smith. Just trumpet. Smith, who is a major force on the creative music scene (and has been since the early 1970s), interprets four Monk classics ("Ruby, My Dear", "Reflections", "Crepuscule With Nellie", and "'Round Midnight") plus creates four original "reflections" of his own inspired by his relationship to Monk's music. Beautifully recorded over three sessions (in November of 2014 and August 2015), the package includes excellent notes by Smith and a fairly extensive bio.
Paul Ryan Photography
So much stands out on this very personal recording. Start with how in this setting, one can hear how the blues infiltrates Monk's music. Note how beautifully the trumpeter blends sounds and silence - there are many moments that the listener hangs on the notes, even after they fade. One also hears how this music connects with the philosophies of the AACM and with Smith's creative philosophies as well as with the sounds of another creative musician celebrating his 100th birthday, John Birks "Dizzy" Gillespie. The avid Monk fan knows that both Dizzy and Miles Davis recorded "'Round Midnight" yet the performance here apes none of the numerous recordings and live concert versions. The plaintive melody pours over the listener; Smith takes his time, caressing each note who producing a sound that is so intimate on an instrument that can shake the rafters.
The original pieces range from the intense yet tender "Monk and His Five Point Ring at The Five Spot Café" to the gentle ballad "Adagio: Monkishness - A Cinematic Vision of Monk Playing Solo Piano." That latter track is quiet, with notes that ring out, gently fade, and create a heartfelt melody. "Adagio: Monk, the Composer in Sepia - A Second Vision" is not only influenced by the blues of a Monk ballad but also by the "muted" tones of old photographs of the pianist. The muted trumpet sounds fragile but sympathetic, with strength in the higher notes. Following that is a piece inspired by a dream: "Monk and Bud Powell at Shea Stadium - A Mystery" unites the two pianists, great friends, both who dealt with ailments, who were stalked by the police as well as demons, yet who created such vital music. The playful quality that Smith interjects into this piece reflects the creative adventure of the pianists. Still, as the piece comes to its close (it sounds as if the music ends in the middle of a phrase), one can hear both musicians lives were often interrupted.
"Solo" Reflections and Meditations on Monk" is music to savor, to sit and breathe in, to inhabit. Once you surrender to the sounds, you grow to not only appreciate the immense contributions that Thelonious Monk made to contemporary music but also how Wadada Leo Smith made his explorations of this man and his music personal and universal at the same time.
In many big cities around the world, there are jazz clubs and other venues that stay open very late, well into darkness of the new day. Even if you have not spent time in one of these often intimate performance spaces, you probably have hear the music created in the last set of the evening can be extremely powerful, personal and, often, quite romantic.
Listening to the nine songs on "The Late Set", the new Anzic Records album from vocalist Hilary Gardner and pianist Ehud Asherie, one is transported to a late-night joint: the tables are close together, almost all of them near the bandstand, with candles burning down to their final moments, and several nearly-empty glasses that the listeners are caressing gently. The songs were not chosen to spotlight the many talents of the duo but to tell stories that an audience can connect to. Perhaps it's the loneliness of Lorenz Hart and Richard Rodgers's "A Ship Without a Sail" or the sweet reverie of "I Never Has Seen Snow" (from the musical "House of Flowers", music by Harold Arlen and words by Truman Capote) but Ms. Gardner and Mr. Asherie caress each tune, making sure the melody is given its due and you can hear every word.
After you've taken in these classic tunes (all composed between 1928 and 1950), then listen to how fine an accompanist and soloist Mr. Asherie in. There are touches of Thelonious Monk on the opening "Shadow Waltz" and Fats Waller on "After You've Gone"; also notice how he sets the mood on pieces such as the tender ballad "Seems Like Old Times" or the jauntiness he infuses into Irving Berlin's "I Used to Be Color Blind." On the latter tune, he accompanies the vocal with a countermelody that is a perfect match for the joyful vocal. The duo returns to Hart & Rodgers for the spunky "Everything I've Got", a delightful story of a love-struck but determined woman and her philandering boyfriend. The joy in both the vocal and the piano are infectious!
If you are not moved by the sassy, sexy, seductive, and swinging version of "Sweet and Slow" (from the prolific team of Al Dubin and Harry Warren), you might want to go to the doctor. Yes, it's about slow dancing late at night but not only on the dance floor. Though one of the earliest versions of this song was recorded by Fats Waller, the piano accompaniment displays the influence of George Gershwin.
"The Late Set" is a delight from start to finish. Hilary Gardner has such a mature, honest, and, yes, playful voice while Ehud Asherie is such an intelligent accompanist, partner, and soloist. If younger listeners want to understand the power of the Great American Songbook and how songs not only captured the hearts of many listeners but also their imaginations, this album is one of the best contemporary showcases of that power.
Violinist and composer Sam Bardfeld graduated from Wesleyan University in 1990. He had studied with a number of people while there including jazz saxophonist Bill Barron. He played (and still plays) all sorts of music, from Latin and Afro-Cuban to the avant-garde works of Anthony Braxton and John Zorn to the Americana of Bruce Springsteen. While he has recorded with the likes of Johnny Pacheco, Roy Nathanson & The Jazz Passengers, and Joel Harrison, the arrival of "The Great Enthusiasms" (BJU Records) is a delightful surprise. It's his first CD as a leader since 2005 and features the dynamic pianist Kris Davis and intelligent yet playful percussionist Michael Sarin.
The opening track, "Fails While Daring Greatly", takes its name from President Richard Nixon's resignation speech and sets the tone for the entire program. The piece has a medium-tempo shuffle beat, a jaunty melody, and delightful interplay. Ms. Davis lays out while the violinist and drummer dance about, returning to the shuffle rhythm at the close of the solo before stepping out with a Monk-like dancing solo. Sarin is the glue of the music but also serves as a provocateur throughout. His "second-line" bounce enlivens "Resignation Rag", a platform for the leader's swooping violin lines. That beat makes the "resignation" more of a "celebration" (remember that the "second line" shows up on the way home from a New Orleans funeral). Ms. Davis's unaccompanied solo is a treat; she messes with the tempos, moves from percussive sounds to melodic fragments, and, when the drummer returns, leads hi a chase through the middle of the performance. The title track manages to combine traces of "country swing" fiddle music and the Teutonic beats of Kurt Weill, leading the listener through challenging yet enjoyable passageways.
BJU Records
Beside the five Bardfeld originals, the trio "covers" two pieces from the 1970s. Bruce Springsteen's "Because the Night" was a Top 10 "smash" for Patti Smith - here, the melody is deconstructed, made darker and somewhat scarier by the unaccompanied piano solo plus listen to how the violinist leads the trio back into the melody in frenetic fashion. The funky take of Robbie Robertson's "King Harvest Has Surely Come" (the song that closes the classic second album by The Band) rides on the powerful drums and Ms. Davis's left hand. Bardfeld soars over the rhythm section until he and Sarin drop for an impressionistic and solemn piano solo that takes the piece out (and takes the listener's breath away).
There's plenty of melody, rhythms, interactions, humor, and sadness spread throughout "The Great Enthusiasms"; much of that surprises the listener first time through but, once you return for several more journeys through this daring program, you begin to understand that this music displays the leader's myriad influences without being beholden to any of them. Kris Davis and Michael Sarin are perfect partners for the"dancing on the edge" approach of this music. The music of Sam Bardfeld dazzles, delights, and definitely deserves to be heard.
Bassist and composer Anne Mette Iversen has graced us with two new albums featuring new music for two separate ensembles. Since the Danish-born Ms. Iversen now splits her time between New York City and Berlin, Germany, she also now leads two groups. "Round Trip" (BJU Records) features her NYC Quartet + 1, an ensemble that features John Ellis (tenor saxophone), Danny Grissett (piano), and Otis Brown III (drums and cymbals), all of whom have worked with the bassist since 2006. The "+ 1" is Swedish trombonist Peter Dahlgren who joined the band before its 2014 recording "So Many Roads" but who also appeared on Ms. Iversen's 2004 debut recording, "On The Other Side."
mueller 2016
While the majority of Ms. Iversen's albums have an underlying or unifying theme, "Round Trip" strikes this listener a set of songs she write for these musicians to have fun with, to play with, and give their all. She certainly knows their strengths and gives them wings. The overall sound has the feel and drive of Dave Holland's Quintet, the group with Robin Eubanks, Chris Potter, Billy Kilson, and vibraphonist Steve Nelson. The ensemble play, the manner in which Ellis and Dahlgren play the "heads", the drive of the drums, and Ms. Iversen unwavering guidance from the bass chair - the only difference is piano instead of vibes. Also, Ms. Iversen prefers to be part of the ensemble rather than a soloist; that certainly frees up Brown III to play spark plug underneath the soloists, egging them on and reacting to what they are doing.
If one really listens, the construction of these songs is very impressive. They are logical, linear, with plenty of dynamic variation and also all have well-defined melodies. Listen how "Lines and Circles" builds from the circular piano melody that opens the piece and the counterpoint the bassist adds a few seconds in. The main melody, played now by saxophone and trombone with piano and cymbals as counterpoint, begins to lift the piece. The solos push away from the theme, the rhythm section expands its vocabulary, and the song takes flight. The composer's preference is that the saxophone and trombone carry the lead. There's a smart call-and-response at the onset of "Scala" that leads to a bass solo (one of the few on the disk). The playful forward motion of the title track with the bass and trombone laying down the initial rhythm (with saxophone counterpoint) opens to a short piano section and back again to the intro before Grissett dances ahead with Brown III in hot pursuit.
Bass Musician Magazine
The album has two impressive ballads. The quiet, so slow, "Wiinstedt's View" opens with a lovely introduction from Ellis sans accompaniment before the ensemble enters with the handsome, blues-soaked melody (played by saxophone and trombone). "The Ballad That Would Not Be" has a classical feel, from the opening melody to the bass counterpoint. Two minutes in, the sax, trombone, and bass change the melody but not the melodic and harmonic counterpoint. When the drums and piano enter, the piece changes yet again, now with more urgency and emotion in the melody.
"Round Trip" is a joyous journey performed by a band that enjoys each other's company shepherded by a composer who loves what these musicians sound like as they travel the byways of her compositions. Anne Mette Iversen is a fine player and an even better composer. Her songs are intelligent without being stuffy, playful, and give the listener much to chew on.
Here's the high-energy "Segue":
CD #2 comes from the Ternion Quartet, an ensemble Ms. Iversen in Berlin and features Silke Eberhard (alto saxophone), Geoffrey De Masure (tenor and bass trombone), and Roland Schneider (drums, percussion), all three veterans of the European jazz scene (the drummer did spend nearly two decades in New York before moving back to Berlin in 2008). Ms. Eberhard may be the most "famous" having issued numerous albums with her Trio, Quartett, and duos with pianists Dave Burrell and Aki Takase. The group also takes its cue from Dave Holland, thanks to the open-ended feel of certain tracks as well as the powerful forward motion. One can also hear the influence of Charles Mingus plus Ornette Coleman. Without a chordal instrument, Ms. Iversen has more of a "starring" role. Yes, she is the foundation of the majority of tracks but steps out as a soloist more with this ensemble.
Dieter Düvelmeyer photo
These songs stretch out more than those on "Round Trip." Ms. Iversen does not skimp on the melodic content and, if anything, the compositions are even more linear than on the Quartet +1 album. Pieces such as "A Cygnet's Eunoia", "Ataxaria On My Mind", and "Eburnine" have main themes on which both the sax and trombone share the melody lines (you might also want to look up the meanings of certain words). Ms. Eberhard's solos throughout are rich with ideas, her clean tones evoking the sounds of Steve Wilson and Steve Coleman. She smoothly navigates the head of "Escapade #7" and is a good foil for the deep tones of De Masure's bass trombone. The trombonist, when he employs multiphonics, will remind some of the late Albert Mangelsdorff, but he too has a smoothness. His phrases are quirkier than his front line partner but he also adds depth to the sound. Listen how he blends with the bowed bass at the beginning of "Solus", the prettiest ballad on the album and, then, really digs deep for his solo. His intro to "Debacled Debate" is gritty and takes its direction from both New Orleans "gutbucket" and the afore-mentioned Mr. Mangelsdorff.
Dieter Düvelmeyer photo
Schneider, who is a member of pianist Anat Fort's Trio, plays delightfully throughout. His work underneath soloists is often fiery and interactive. His brush work is exemplary - check out "Postludium #2" and listen to how sparely both he and Ms. Iversen play in support of the soloists. Schneider drives a mean tempo on "Trio One" showing the influences of both Elvin Jones and Ed Blackwell.
"Ternion Quartet" is both the name of the ensemble and the album. It's actually a joke as well; the definition of "ternion" is a "group of three". Honestly, Anne Mette Iversen gives the description of the music in her short liner notes. "There is an element of total freedom and there is an element of chance and risk-taking. Anything and everything goes." The result is good listening from beginning to end.
Isamu McGregor is a young (27) pianist and keyboard artist who, like many of his contemporaries, moves easily fro jazz to world music to pop music. His "high-profile gigs with bassist Richard Bona, saxophonist Sadao Watanabe, and vocalist Colbie Caillat have taken him around the world. He has maintained his trio with electric bassist Evan Marien and drummer Gene Coye for over six years; their closeness is quite evident on McGregor's new and second album "Resonance" (Ghost Note Records). Seven cuts, clocking in at 57 minutes, cover a lot of musical territory. On the opening track, "The Dreamer", McGregor plays acoustic and electric piano plus synthesizers, moving around his arsenal with ease and creativity.
While all three musicians are technically impressive, this music is not all about prowess. The episodic nature of most of the pieces emphasizes that McGregor wants to connect with his audience on an emotional. Tenor saxophonist Seamus Blake joins the trio for "Relentless" and, while the title is an apt description for how the four musicians play, there are also moments of grace and beauty. Come plays with great fire but pay close attention to the deep bass notes and the leader's powerful chordal work. "The Drifter" opens with the buzzing sound of Bennie Maupin's bass clarinet but he soon moves on to play the melody with just the electric piano on support. The rhythm section enters quietly. After the handsome bass clarinet solo, McGregor moves in on acoustic piano playing a delightfully meandering solo. The piece begins to pick up in intensity during the solo and, soon, Mr. Maupin reenters and the trio steps aside, save for the pianist, for his quiet solo. The bass clarinet dominates the final four minutes of the piece that has now taken on an impressionistic tone.
Friend and former bandmate Deen Anbar joins the trio for the funky, Weather Report-inspired, "Thor vs James Brown" (great title) - the first half of the track lopes along but then Coye lays down a frantic pace, McGregor plays a hypnotic Fender Rhodes rhythm and the guitarist begins a furious and raucous solo. When the bass enters, it's "pedal to the metal" and the music "burns" all the way to the finish line.
In the middle of the program, there is a lovely solo feature for the leader. "Because" is the shortest cut on the album (5:18) and it may take a moment before you realize it's the John Lennon ballad from "Abbey Road" - McGregor cuts right to the emotional heart of the song, embellishing the melody with classical chords with, at times, dramatic flourishes that do not overwhelm but underscore the story in the unheard lyrics.
"Resonance" is a mature work from a young artist who looks to be on his way to a long and productive career. Some listeners may have issues with the electronics but the colors the various keyboards bring to the music helps to create a larger bouquet. Isamu McGregor is a hard name to forget; his powerful music for trio and guests will resonate in your ears and mind for a good long time as well.
Bassist, composer, arranger, and educator Alexis Cuadrado creates such fascinating music. On his previous 2 albums, he has explored the fusion of flamenco music with jazz (2011's "Noneto Ibérico") and the poetry of Federico Garcia Lorca, specifically the poetry he wrote during his visit to the United States in 1928-29 (2013's "A Lorca Soundscape"). Now the native of Barcelona turns his attention to the 21st Century writings of Melcion Mateu (also a native of Barcelona) and Rowan Ricardo Phillips (a NYC native fluent in Catalan); both are featured on "Poètica" (Sunnyside Records) alongside Cuadrado, Miles Okazaki (guitars), Andy Milne (piano, keyboards) and Tyshawn Sorey (drums) on a program that challenges, soothes, and provokes many emotions.
allaboutjazz.com
The album contains thirteen tracks with 3 dedicated to the 3-part "Balada de Matt Sweeney" (Mateu) and 4 cuts with multiple poems. Opening with with Phillips "Song of Fulton and Gold" and its evocation of 9/11, the power of the collaboration is immediately evident. The leader leads the band in with his insistent cajón, then the powerful rhythms created by the bass, guitar, and drums push the piece forward through the lyrics to a shattering finish. "Terra Incognita" (Phillips) also contains that powerful forward motion, with Sorey's forceful drums, Okazaki's roaring guitar lines, Milne's hypnotic piano chords and the leader's fundamental bass work.
photo by Jeremy Zilar
Throughout the album, the combination of the melodies and words are often filled with tension, the different stories being told capturing one's attention. "..Matt Sweeney" (Mateu) spreads over nearly 13 minutes with different rhythms, several solos, and the poet's voice, sometimes dripping with sarcasm, sometimes anger, even with genuine wonder, with "Pt III" sung in both Spanish and English. Mateu's gravely intro to "What Rose Is/Pamelia/ Cornelia St Café" sets the tone for the impressionistic images of a man fascinated with an older woman. In the middle of the piece, there's a long and powerful guitar solo.
The hypnotic melodies, the circular poems, the amazing interaction of voice and musicians, the multitude of sounds from the guitars of Miles Okazaki and keyboards of Andy Milne, the percussion barrage of Tyshawn Sorey, the two different narrators with their poems of the ever-shifting New York City, landscapes (physical and emotional), all that plus the arrangements by composer Alexis Cuadrado make this new project spring to life. The more you listen, the more you can hear how the different come together and complement each other. Part recital, part "poetry slam", often exciting, and always involving, "Poètica" shines.
Here's the ensemble in action from 2014, with both Rowan Ricardo Phillips and Melcion Mateu involved:
Since 2009, drummer, composer, and arranger Rob Garcia has led a most interesting quartet based around tenor saxophonist Noah Preminger, pianist Dan Tepfer, and a rotation of bass players (Joe Martin, John Hébert, and Chris Lightcap). For his 4th album for BJU Records, "Finding Love in an Oligarchy on a Dying Planet", Garcia turns his attention to issues that affect our daily lives, doing so with a stellar band including Preminger, bassist Masa Kamaguchi, and pianist Gary Versace plus tenor saxophonist Joe Lovano (3 tracks), vocalist Kate McGarry (2 tracks), and actor Brendan Burke (spoken word on 1 track).
robgarciamusic.com
Garcia's compositions take on such topics as gun control ("Guns Make Killing Easy"), global climate change ("Greenland Is Turning Green"), the current politic climate ("Terror, Fear, and Media"), and wars ("Johnny Has Gone for a Soldier"), doing so in the manner of Charles Mingus and Sonny Rollins; the titles make you think while the music pulls you in. "Greenland.." features both Lovano and Preminger on tenor sax playing the theme in harmony, each going on into strong solos. Ms. McGarry joins the band (minus Preminger but plus Lovano) for "The Journey is The Destination", a swinging reminder of the arc of one's life. She also teaches about the importance of equality on "People Are Everything", this time with Preminger winding his soft tenor lines around the lyrics.
The title track jumps atop the circular piano ones, throbbing bass and forceful drums plus the lyrical tenor sax of Preminger. Since he first came on the scene, the young saxophonist has been an impressive voice and now has a blues sensibility to his phrasing (not unlike Don Byas or Archie Sheep). After a long bass solo, the saxophonist plays the plaintive melody of "Guns..." shadowed by the more colorful piano counterpoint. There is a similar setup on "Johnny...." with a strong bass intro (melody and more) from Kamaguchi before Preminger play the folk-like melody.
Ottawa Jazz Fest
"Finding Love in an Oligarchy on a Dying Planet" (a message of hope on its own) charts the continuation of Rob Garcia as a composer, arranger, bandleader, and human being. Using music and his ensemble to help him make sense of the world as well as give his listeners the opportunity to find where they fit in this program makes this a fascinating program. The music stands out, is forceful yet never strident, and is contemporary with an understanding of its myriad roots. No matter your politics, this music soars, flows, and sings.
One look at the discography of drummer and composer Donald Edwards and you see that the Louisiana native is a busy and versatile musician. He's worked and recorded with guitarist Mark Whitfield, saxophonist Wayne Escoffery, the Mingus Big Band and Orchestra, bassist Ben Wolfe, trombonist Conrad Herwig, trumpeter Alex Sipiagin, pianist Orrin Evans, and others plus he's a charter member of Opus 5.
"Prelude To Real Life" is his 4th album as a leader and 2nd for the Criss Cross label. Three of the musicians who played on 2014's "Evolution of an Influenced Mind" return - Orrin Evans (piano), Walter Smith III (tenor sax), and David Gilmore (guitar) - and are joined by bassist Luques Curtis plus guests Nicholas Payton (keyboards on three tracks), Vivian Sessoms (vocalist on three tracks) and Antoine Drye (trumpet on one track).
allaboutjazz.com
The program includes three short "sound sculptures" including the album opener "Taking Shape." Each features Payton on either Fender Rhodes, organ and/or piano. "Hop Scotch" is a funky ditty with Ms. Sessoms singing the instructions for a children's game. "King" blends keys, drums, and saxophone into a quick, raucous, hit.
The majority of the material utilizes the quintet to excellent advantage. There are 2 standards in the program, the understated but swinging rendition of Benny Golson's "Stablemates", the melody played by Gilmore and Smith III with the rhythm section dancing beneath them. Curtis, a native of Hartford, CT, takes a sweetly melodic solo before Evans, Gilmore, and the tenor saxophonist play succinct spots, all the while the leader moves deftly around his kit. A short group of solos from piano, drums and tenor sax leads the ensemble into a playful take on Thelonious Monk's "Skippy" (which is a good description of Edwards' accompaniment.) Ms. Sessoms adds her whispery yet articulate voice to Alex Sipiagin's "Way To Her", shadowed by the saxophone with counterpoint from Gilmore's vocal-like guitar phrases. She returns for the drummer's "Thought For the Day" with lyrics that touch on the various ills in society, taking a positive approach. The ensemble kicks it up several notches with the rhythm section leading the way during the fine solos (Smith III really pushes with abandon).
The music in the longer cuts all feature start melodies and strong improvisations. Longer tracks, such as "Beautiful Intuition" (8:57) and "Apple Street" (8:09), take their time to establish the melody sections, leaving room for improvisations. What stars out on initial listening is how intelligently Edwards sets up the songs from his role in the rhythm section. His intuitive playing, knowing when to push or hold back, is one of the joys of the recording. Then, listen to the soloists and realize how each has his own style (or sound, if you will); this music is not about ego or technique as much as it is about story-telling and communication.
"Prelude to Real Life" is an album to play over and over, the program never gets tiring. Donald Edwards can be a "power drummer", like Rudy Royston and Eric Harland, but his control and how he plays in different situations really stands out. Highly recommended!
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